Figure 1: A seam is a connected path of low energy pixels in an image. On the left is the original image with one horizontal and one vertical seam. In the middle the energy function used in this example is shown (the magnitude of the gradient), along with the vertical and horizontal path maps used to calculate the seams. By automatically carving out seams to reduce image size, and inserting seams to extend it, we achieve content-aware resizing. The example on the top right shows our result of extending in one dimension and reducing in the other, compared to standard scaling on the bottom right. Effective resizing of images should not only use geometric constraints, but consider the image content as well. We present a simple image operator called seam carving that supports content-aware image resizing for both reduction and expansion. A seam is an optimal 8-connected path of pixels on a single image from top to bottom, or left to right, where optimality is defined by an image energy function. By repeatedly carving out or inserting seams in one direction we can change the aspect ratio of an image. By applying these operators in both directions we can retarget the image to a new size. The selection and order of seams protect the content of the image, as defined by the energy function. Seam carving can also be used for image content enhancement and object removal. We support various visual saliency measures for defining the energy of an image, and can also include user input to guide the process. By storing the order of seams in an image we create multi-size images, that are able to continuously change in real time to fit a given size.

Figure 1: (a) A photo of a car engine (b) Stylized rendering highlighting boundaries between geometric shapes. Notice the four spark plugs and the dip-stick which are now clearly visible (c) Photo of a flower plant (d) Texture de-emphasized rendering. We present a non-photorealistic rendering approach to capture and convey shape features of real-world scenes. We use a camera with multiple flashes that are strategically positioned to cast shadows along depth discontinuities in the scene. The projective-geometric relationship of the camera-flash setup is then exploited to detect depth discontinuities and distinguish them from intensity edges due to material discontinuities. We introduce depiction methods that utilize the detected edge features to generate stylized static and animated images. We can highlight the detected features, suppress unnecessary details or combine features from multiple images. The resulting images more clearly convey the 3D structure of the imaged scenes. We take a very different approach to capturing geometric features of a scene than traditional approaches that require reconstructing a 3D model. This results in a method that is both surprisingly simple and computationally efficient. The entire hardware/software setup can conceivably be packaged into a self-contained device no larger than existing digital cameras.

Thumbnail images provide users of image retrieval and browsing systems with a method for quickly scanning large numbers of images. Recognizing the objects in an image is important in many retrieval tasks, but thumbnails generated by shrinking the original image often render objects illegible. We study the ability of computer vision systems to detect key components of images so that intelligent cropping, prior to shrinking, can render objects more recognizable. We evaluate automatic cropping techniques l) based on a method that detects salient portions of general images, and 2) based on automatic face detection. Our user study shows that these methods result in small thumbnails that are substantially more recognizable and easier to find in the context of visual search.

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We describe a system for transforming an input video into a highly abstracted, spatio-temporally coherent cartoon animation with a range of styles. To achieve this, we treat video as a space-time volume of image data. We have developed an anisotropic kernel mean shift technique to segment the video data into contiguous volumes. These provide a simple cartoon style in themselves, but more importantly provide the capability to semi-automatically rotoscope semantically meaningful regions.

(a) input (b) sample possible renditions: bright and sharp, gray and highly detailed, and contrasted, smooth and grainy Figure 1: This paper describes a technique to enhance photographs. We equip the user with powerful filters that control several aspects of an image such as its tonal balance and its texture. We make it possible for anyone to explore various renditions of a scene in a few clicks. We provide an effective approach to æsthetic choices, easing the creation of compelling pictures. We introduce a new approach to tone management for photographs. Whereas traditional tone-mapping operators target a neutral and faithful rendition of the input image, we explore pictorial looks by controlling visual qualities such as the tonal balance and the amount of detail. Our method is based on a two-scale non-linear decomposition of an image. We modify the different layers based on their histograms and introduce a technique that controls the spatial variation of detail. We introduce a Poisson correction that prevents potential gradient reversal and preserves detail. In addition to directly controlling the parameters, the user can transfer the look of a model photograph to the picture being edited.

“Impressionism”, (bottom row) “Abstract”, “Pointillism”, “Flower ” and “Abstract ” styles. Figure 3 shows some of the brush strokes used. We present techniques for transforming images and videos into painterly animations depicting different artistic styles. Our techniques rely on image and video analysis to compute appearance and motion properties. We also determine and apply motion information from different (user-specified) sources to static and moving images. These properties that encode spatio-temporal variations are then used to render (or paint) effects of selected styles to generate images and videos with a painted look. Painterly animations are generated using a mesh of brush stroke objects with dynamic spatio-temporal properties. Styles govern the behavior of these brush strokes as well as their rendering to a virtual canvas. We present methods for modifying the properties of these brush strokes according to the input images, videos, or motions. Brush

Figure 1: Preserving functional realism rather than photo-realism by image retargeting. (a) The source image containing three areas of higher importance, the two boys, and the ball. (b) The source image retargeted to fit a PDA display. (c) The source image retargeted to fit a cell phone display. In the retargeted images, our algorithm is able to keep both boys in the image and maintain the relative positions of all shadows. 1

Figure 1: We partition the original image (left) into a grid mesh and deform it to fit the new desired dimensions (right), such that the quad faces covering important image regions are optimized to scale uniformly while regions with homogeneous content are allowed to be distorted. The scaling and stretching of the image content is guided by a significance map which combines the gradient and the saliency maps. We present a “scale-and-stretch ” warping method that allows resizing images into arbitrary aspect ratios while preserving visually prominent features. The method operates by iteratively computing optimal local scaling factors for each local region and updating a warped image that matches these scaling factors as closely as possible. The amount of deformation of the image content is guided by a significance map that characterizes the visual attractiveness of each pixel; this significance map is computed automatically using a novel combination of gradient and salience-based measures. Our technique allows diverting the distortion due to resizing to image regions with homogeneous content, such that the impact on perceptually

We present a class of image fusion techniques to automatically combine images of a scene captured under different illumination. Beyond providing digital tools for artists for creating surrealist images and videos, the methods can also be used for practical applications. For example, the non-realistic appearance can be used to enhance the context of nighttime traffic videos so that they are easier to understand. The context is automatically captured from a fixed camera and inserted from a day-time image (of the same scene). Our approach is based on a gradient domain technique that preserves important local perceptual cues while avoiding traditional problems such as aliasing, ghosting and haloing. We presents several results in generating surrealistic videos and in increasing the information density of low quality nighttime videos.